Tell us what you thought of ‘Drive’

Lots has been written and spoken about “Drive” around these parts. Guy fell in love in Cannes. I hopped on board at Comic-Con. And now, it’s your turn to weigh in. The film opens nationwide today, and I imagine it’ll be a big priority for many of you. Come on back here when you get around to seeing it this weekend. We’d love to hear your thoughts.

178 responses so far

“And the whole “I’m an existential loner who’s gonna be a hero for this sweet girl and her son because I like them and I’m really some sort of suppressed psychopath who doesn’t don’t know how to feel” thing didn’t sink into me (over my head). ”

I really liked it; the last act wasn’t as good as the first two, but when it was close to being the best film of the year from the first two acts, the whole was very impressive. I’m not sure how its awards prospects will go, but the technical work was amazing for a fairly low budget film and it certainly would deserve noms in categories such as editing and sound mixing.

As for some of the talking points, after all I heard about the violence the film was less violent than I thought it was going to be, I was expecting one of the most violent R-rated films ever and I would say it wasn’t even the most violent film this week (after Straw Dogs). And I took the elevator scene and ending at their most realistic interpretation, but there is room to view them multiple ways.

this is what movies are all about. completely absorbing, breathtakingly beautiful. so much to love.

i read a few comments on here with people saying they were let down by Perlman’s death, but I thought it was handled wonderfully. I mean, that beach with the lighthouse light flickering by every few seconds? phenomenal.

For me, Refn’s technique almost simultaneously seems to border on parody and brilliance (this comes to a head in the brilliant elevator sequence). Some cuts in the film felt a bit awkward (for lack of a better word), as did a few of the moments where gosling and/or mulligan wouldn’t talk, and that one song (“real hero” or something) was just awful. I would’ve liked a little more narrative. Other than that i kinda loved it, the minimalism, the compositions, Gosling, and Brooks were all excellent. And truly, not since Michael Mann have we seen a director capture L.A. so well. In a just world, nominations for cinematography, editing, and gosling would be easy calls. I really want to see it again… Also, i think this film has some of the best use of space that I’ve seen in a while, akin to the work of Kurosawa or Leone

One more time for Gosling. This is definitely Oscar worthy work imo. He brings a focus to the role that is truly something to behold. It’s the type of performance where each look or subtle mannerism is essential to understanding the character.

It’s incredible to come to a site like this and read the commentary here on the film’s quality (good, bad, and in-between) and compare it to something like yahoo users, twop, and other such sites and see the shallow, simple-minded (although, opinion IS opinion) “it was so boring”, “that shit was slow” “who are these actors?” “where was the action?” “this movie sucked” “no one spoke” criticisms. Incontention is so refreshing.

The disparity between audience(s) opinion (and follow-through of that opinion) is amazing, to me.

“And truly, not since Michael Mann have we seen a director capture L.A. so well. In a just world, nominations for cinematography, editing, and gosling would be easy calls. ”

This made me laugh hard, because as I mentioned before I went with two other people who also hated it, and one of them said as we left the theatre “That director was trying so hard to be Michael Mann, and failed miserably. Trying to capture LA like that. Just stop, you can’t be Mann.”

I guess I shouldn’t tell on myself, but the first thing I said after the movie was over was “I’m going home and firing up ‘Point Break'”. I like what Nathaniel over at Film Experience wrote..I’ll probably be one of those people in 10 years that finds out they now love “Drive”.

Another question: what was with the Driver walking up to the pizzeria with the mask (to the tune of “Oh My Love”) and then, as soon as the song’s done, he’s back in the car? Did he actually go up there? Why?

I actually found the stolen No Country tagline to be quite fitting as Driver was a bit of an anti-Anton Chigurh. Instead of the guy with the money being chased by an unstoppable killer, the guy with the money IS the unstoppable killer.

Additionally, I had the feeling that the mask he was wearing was a Jason Statham mask, or at least there was a hint of that…the thought of which was pretty funny to me.

Yikes, this was bad! Congratulations, audience, when the critics and internet nuts go off into la-la land, I can always count on you guys to smack some sense into them. C-? That’s being generous.

Storywise, we’ve seen this story a million times before, and we’ll see it a million more. Character-wise? There’s no depth to these characters, they don’t exist, this is purely an exercise in style. The actors are fine, but please don’t be nominating anyone for this.

Action? The opening scene is a thinking man’s action sequence, there’s another sequence that is reasonably exciting, but again, it’s pure style over substance. (Is there a reason to go into reverse in a car chase? No, but it’s cool.) Still, if you’re going to call yourself DRIVE, I’m expecting one of the all time great car chases… which this movie did not come close to.

So what are we left with? Style? Yeah, it’s got style. But holding the camera on something for an eternity while playing a synth score can get real old real fast. Yes, the leads have chemistry, but having them stare at the camera ad infinitum gets real old real fast.

OK, I’m being a little harsh on this movie. but when the critics pull one of their “Emperor’s New Clothes” moves, I get really pissy. If this is supposed to be an 80s, neon drenched action film, then please note that LIVE AND DIE IN LA, STREETS OF FIRE, NEAR DARK, etc all had propulsive stories, gripping excitement.

And the final showdown between the hero and the villain. Um, what was the villain thinking?

My favourite movie of the year, just like Bronson was last year. Ryan Gosling was a revelation. Poetic, visceral, stunning. As for “old’s leaving the theatre, I’m 50 and heard some ‘youngs’ complaining about the lack of dialogue and story. If it’s not fed to some of them on a spoon they don’t get it. Am now going to spend the weekend catching up on Gosling’s other acting work, namely Half Nelson and Lars & the Real Girl. If he doesn’t at least get an Oscar nod I’ll be disappointed. Also, I went with my 17 yr old son who is a budding screenwriter. He was blown away that people got up and left the theatre. We are going to see it again next week!!

Gamer mom, if you were impressed with Gosling just from Drive, I’d be curious to hear your thoughts after seeing him in Half Nelson and Lars. In those movies, along with The Believer and Blue Valentine, Gosling positions himself as one of the most interesting and exciting actors we have in film today, in my humble opinion.

I am of those few people who feels Gosling isn´t that great.Not bad and certainly not when he shows emotion…but Driver.One facial expression.A smile you don´t know if it belongs to someone who cares,tries to fit in or is a complete sociopath.Well,he´s all those things.He shows emotion one time n in a completely random scene.This movie has a great soundtrack,it doesn´t shy away from gore,this is brutal stuff,it´s tense….but in an actionmovie that gives the impression of being characterdriven,we really don´t get close to anyone.Best performance easily comes from Oscar Isaac .More screentime might´ve earned him an oscarnom,surprised he took a role like this.In a attempt,successful attempt to surprise us,we unfortunately loose a human touch IMO. Good,original but not great film.

Best film of 2011 and hands down the coolest film in a long, long time. A bonafied and instant crime classic. Gosling immense, Brooks incredible and Refn’s direction superb. Throw in great visuals, an amzing soundtrack and a superb supporting cast and you have a real winner. SHOULD win big at the Oscars but will PROBABLY be harshly overlooked bar a couple of awards. Trust me this deserves every accolade it gets!

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